Joseph Vella
In the modern era of jazz, finding a true composer to follow is not the easiest thing to do. Especially if the composer can actually write beautifully melodic and emotionally deep music that is also a perfect launching pad rich for improvisation. Vince Mendoza does this and more.
I first became of aware of Vince back in 1991 when he arranged and conducted three tracks off of the Yellowjackets' album Greenhouse. A year later I was introduced to several of his compositions on drummer Peter Erskine's beautiful album titled You Never Know. It was on that album that I became a huge Vince Mendoza fan and kept an ear out for his work whether on his own or with others.
When I heard Vince's album Epiphany in 1997, it immediately became one of my all time favorite recordings. Featuring an all-star jazz group with the London Symphony Orchestra, Epiphanypresented eight lush Mendoza originals beautifully arranged, conducted and performed. It still stands as one of my desert island recordings and a favorite among many jazz musicians.
Although Vince has recorded other collaborative sessions since then that are superb, such as his work with Bjork (Selma Songs & Vespertine), Joni Mitchell (Both Sides Now & Travelogue), Elvis Costello (My Flame Burns Blue) and others, I have been waiting for a follow up album of his own compositions that could complement his beloved Epiphany.
The wait is over! A couple weeks ago Vince released Nights on Earth, a new collection of his compositions complete with an eclectic cast of amazing artists and a vast canvas of Mendoza enriched musical motifs. I had the good fortune of talking to Vince Mendoza about the new album, his influences and overall approach to composing and it should come as no surprise that his responses are as compelling as his work.
If you had to describe your composing style to someone unfamiliar with your work how would you define it?
[Vince Mendoza] My composing style is most closely related to my beginnings as a musician. I grew up listening to the radio, and playing standard tunes with my mother at the piano. So much of what I think about when writing has to do with writing melody, thinking about grooves and a honest connection to the music. And then the rest of course reflects my influences from music I have head over the years from all over the globe. But it all comes down to melodies and grooves.
[Vince Mendoza] My composing style is most closely related to my beginnings as a musician. I grew up listening to the radio, and playing standard tunes with my mother at the piano. So much of what I think about when writing has to do with writing melody, thinking about grooves and a honest connection to the music. And then the rest of course reflects my influences from music I have head over the years from all over the globe. But it all comes down to melodies and grooves.
In terms of composers, who are a few of your main influences and why?
I often say that all I need to know about music comes from JS Bach and Louis Armstrong. They both have mathematic perfection combined with the spontaneity and soul that can only come from the Divine. Louis never plays a bad note and his time is impeccable. Always in the right place. And he plays what he sings. And everyone after him sang what he played. It doesn't matter what instrument plays Bach's music, it is always glorious. And all the parts fit together perfectly. I can't leave out Stravinsky and Joe Zawinul. They have more in common than you think. Their composition style was organic, improvisational and believe it or not, groove based. Brahms and Alban Berg for their romanticism. Don't forget the melody.
I often say that all I need to know about music comes from JS Bach and Louis Armstrong. They both have mathematic perfection combined with the spontaneity and soul that can only come from the Divine. Louis never plays a bad note and his time is impeccable. Always in the right place. And he plays what he sings. And everyone after him sang what he played. It doesn't matter what instrument plays Bach's music, it is always glorious. And all the parts fit together perfectly. I can't leave out Stravinsky and Joe Zawinul. They have more in common than you think. Their composition style was organic, improvisational and believe it or not, groove based. Brahms and Alban Berg for their romanticism. Don't forget the melody.
Your music always works (emotionally & musically) whether it is performed in a trio or small group setting or a large ensemble or orchestral environment. Is this something that you have intentionally worked on over the years or what?
I don't worry about working with different groups with regard to the technical aspects, as they are all just instruments of one's creativity, and after a while one becomes experienced working with them. The orchestra or the big band are just ensembles of individual musicians all playing their parts. However over the years I have become accustomed to deciding what material would work the best in a particular context. With Nights on Earth the music came about without the knowledge of how it would be ultimately realized. The decisions about "who will play what" came later, and arguably it helped me not to think to closely about the ultimate setting of the composition while it was in its first stages, but to let the ideas flow freely.
I don't worry about working with different groups with regard to the technical aspects, as they are all just instruments of one's creativity, and after a while one becomes experienced working with them. The orchestra or the big band are just ensembles of individual musicians all playing their parts. However over the years I have become accustomed to deciding what material would work the best in a particular context. With Nights on Earth the music came about without the knowledge of how it would be ultimately realized. The decisions about "who will play what" came later, and arguably it helped me not to think to closely about the ultimate setting of the composition while it was in its first stages, but to let the ideas flow freely.
Nights on Earth is a brilliantly eclectic recording. Can you tells us about the importance of keeping your music varied in terms of instrumentation, style and genre?
A contemporary musician should never get bogged down in these details, as you run the risk of losing your individual stamp. I'm not interested in the "3 faces of Vince". However, none of us live in a bubble and in 2012 musicians are constantly being exposed to (and hopefully inspired by) so many different styles of music. The key for me is deciding how these influences will fit into my own personal voice. I think that comes from spending enough time with different genres, becoming familiar with the language enough to feel comfortable playing inside it.
A contemporary musician should never get bogged down in these details, as you run the risk of losing your individual stamp. I'm not interested in the "3 faces of Vince". However, none of us live in a bubble and in 2012 musicians are constantly being exposed to (and hopefully inspired by) so many different styles of music. The key for me is deciding how these influences will fit into my own personal voice. I think that comes from spending enough time with different genres, becoming familiar with the language enough to feel comfortable playing inside it.
Having said that I think there are many types of music that I love that I KNOW I won't understand enough to live inside them. I can spend my life studying Flamenco music and still have so much to learn. However there are some elements of this music that I feel comfortable putting into my own language.
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